Holocaust Lit Fall 2016: Week 1

Last fall I blogged about my Short Fiction class. (You can read the first entry here.) I couldn’t keep it up all semester, and there’s no reason to think this year will be any different. But I’m going to try again, this time with the course I have taught the most, and that means the most me: English 248, The Holocaust in Literature, Theory, and Film.

So far this group (18 students) has impressed me with its energy and intelligence. We’re only in the second week, of course. But the beginning has been promising.

Today I thought I’d share with you the text we worked through on the second day of class, a short excerpt from The Reawakening, one of Primo Levi’s extraordinary memoirs of his experiences during the war.

Levi, a secular Jew from Turin who had trained as a chemist, was arrested in the Italian Alps in December of 1943 where he had joined a small band of partisans in the nascent Italian Resistance movement. Once it was discovered that he was a Jew, Levi was deported first to a transit camp called Fossoli and then to Auschwitz in February 1944. Thanks to his scientific background, Levi avoided the gas chamber and was sent to work in a sub-camp of Auschwitz, called Buna-Monowitz, where the Germans were trying to synthesize rubber. Through good fortune and the care of a Gentile Italian prisoner, who slipped him extra food when he could, Levi survived the bitter depredations of camp life. He was lucky to have been in the camp infirmary when the Germans abandoned it in January 1945 shortly before the Red Army arrived. In this way he avoided being sent on one of the so-called Death Marches, in which the Germans force-marched the remaining prisoners to other camps in Germany proper. Thousands of the malnourished and weakened prisoners died that way.

Primo Levi in his studio, Turin, 1981

The passage we worked through begins with a description of the change in camp life after liberation:

Outside the windows, despite the steady snowfall, the mournful roads of the camp were no longer deserted, but teemed with a brisk, confused and noisy ferment, which seemed to be an end in itself. Cheerful or wrathful calls, shouts and songs rang out till late at night. All the same, my attention, and that of my neighbours in the near-by beds, rarely managed to escape from the obsessive presence, the mortal power of affirmation of the smallest and most harmless among us, of the most innocent, of a child, of Hurbinek.

Hurbinek was a nobody, a child of death, a child of Auschwitz. He looked about three years old, no one knew anything of him, he could not speak and he had no name; that curious name, Hurbinek, had been given to him by us, perhaps by one of the women who had interpreted with those syllables one of the inarticulate sounds that the baby let out now and again. He was paralysed from the waist down, with atrophied legs, as thin as sticks; but his eyes, lost in his triangular and wasted face, flashed terribly alive, full of demand, assertion, of the will to break loose, to shatter the tomb of his dumbness. The speech he lacked, which no one had bothered to teach him, the need of speech charged his stare with explosive urgency; it was a stare both savage and human, even mature, a judgment, which none of us could support, so heavy was it with force and anguish.

None of us, that is, except Henek; he was in the bunk next to me, a robust and hearty Hungarian boy of fifteen. Henek spent half his day beside Hurbinek’s pallet. He was maternal rather than paternal; had our precarious coexistence lasted more than a month, it is extremely probably that Hurbinek would have learned to speak from Henek; certainly better than from the Polish girls who, too tender and too vain, inebriated him with caresses and kisses, but shunned intimacy with him.

Henek, on the other hand, calm and stubborn, sat beside the little sphinx, immune to the distressing power he emanated; he brought him food to eat, adjusted his blankets, cleaned him with skillful hands, without repugnance; and he spoke to him, in Hungarian naturally, in a slow and patient voice. After a week, Henek announced seriously, but without a trace of selfconsciousness, that Hurbinek ‘could say a word.’ What word? He did not know, a difficult word, not Hungarian: something like ‘mass-klo,” ‘mastiklo.” During the night we listened carefully: it was true, from Hurbinek’s corner there occasionally came a sound, a word. It was not, admittedly, always exactly the same word, but it was certainly an articulated word; or better, several slightly different articulated words, experimental variations on a theme, on a root, perhaps on a name.

Hurbinek continued in his stubborn experiments for as long as he lived. In the following days everybody listened to him in silence, anxious to understand, and among us there were speakers of all the languages of Europe; but Hurbinek’s word remained secret. No, it was certainly not a message, it was not a revelation; perhaps it was his name, if it had ever fallen to his lot to be given a name; perhaps (according to one of our hypotheses) it meant ‘to eat,” or ‘bread’; or perhaps ‘meat’ in Bohemian, as one of us who knew that language maintained.

Hurbinek, who was three years old and perhaps had been born in Auschwitz and had never seen a tree; Hurbinek, who had fought like a man, to the last breath, to gain his entry into the world of men, from which a bestial power had excluded him; Hurbinek, the nameless, whose tiny forearm—even his—bore the tattoo of Auschwitz; Hurbinek died in the first days of March 1945, free but not redeemed. Nothing remains of him: he bears witness through these words of mine.

What is it about Hurbinek, I asked the class, that so gets to Levi and the others? What is the source of “the distressing power he emanate[s]”? It’s that he can’t speak but he wants to, said one student. It’s his need for language, said another. It’s because he’s judging them, said a third. So already we see the power of language and expression, as something fiercely desired but perhaps unattainable. Note what doesn’t surprise or horrify them: that a toddler is here in Auschwitz. The chasm between our expectations and the victims’ experiences is immense—we will encounter this again and again in the course.

Does Hurbinek freak everyone in the camp out, I asked. Not Henek. What’s different about Henek? He cares for him. Does any one else? The Polish girls, one student noted. But what does Levi say about the Polish girls? They don’t really care for him, answered one. They fuss over him, but they don’t like him, said another. He’s like a mascot to them, one concluded. Like a puppy or something. Right, I agreed. Levi distinguishes between false and true intimacy. Something about Hurbinek’s lack of language keeps almost everyone at a distance. Note that he sleeps on a pallet, like an animal. He has his own corner. He’s separate. And yet he isn’t an object of disgust or scorn. He fascinates the others. They follow his efforts to wield language with something like avidity.

How old is Hurbinek, I asked, switching gears. Three, a couple of people said at once. He looks three, one immediately added. That’s when I really first started having hopes for this class. Most readers don’t notice that Levi does something strange here: he begins with uncertainty—“he looked about three”—but ends with conviction: “Hurbinek, who was three years old.” I think this redescription is important—it’s a version in miniature of the speaking by proxy that Levi, in an essay we’ll read in a couple of weeks, will describe as central to the survivor experience. The survivor always testifies to an experience that isn’t the “true” or “ultimate” experience of the camp, which of course was to murder everyone in it. For now I noted that Levi’s descriptions of Hurbinek are unstable. He calls him a baby at one point. But his stare is also called “mature.” In an especially resonant phrase, Levi calls him “the little sphinx.”

Why? And what’s a sphinx? A couple of students cobbled together an accurate enough description of the Theban sphinx. Does anyone know the riddle he posed to travelers? The one only Oedipus could solve? “What goes on four legs in the morning, two at noon, and three in the evening?” Right—and the answer of course is a person, a human being.

In some ways, Hurbinek, who is paralyzed from the waist down, doesn’t fit the terms of the riddle at all. In that sense, he could be taken to be some kind of non-human other. But it’s clear that Levi values Hurbinek, even if he’s a little afraid of him. The literature of the Holocaust, I argued, is regularly preoccupied by what it means to be human. It will be important for us to see both victims and perpetrators as humans—it is as bad to demonize the latter as it is to demean the former. If we do so, we might falsely be able to convince ourselves that the events we’re studying have nothing to do with us, as we are neither angelic martyrs nor inhuman monsters.

The reference to the sphinx also tells something about Levi and his values. What can we tell about him based on his use of the term? He’s smart, he’s well read. Yes, and in a tradition that isn’t only or primarily Jewish. (We’ll say a lot more about Levi’s classical, humanist upbringing when we read his most famous memoir, Survival in Auschwitz starting in the second week of class.)

Time was getting short and there were still a number of things I wanted to get through. I hurried us along. Let’s go back to Henek for a second, I said. Notice that Levi uses the same word to describe him that he does to talk about Hurbinek. Henek is “calm and stubborn”; Hurbinek continues “in his stubborn experiments.” Repetition is always significant in interpreting literature, I told the class. When we see the same images, the same metaphors, the same formulations or sentence structures, the same words, we should take note. Patterns are suggestive and meaningful.

By using the same word in reference to each figure, Levi cements the connection between them. But why this word? What does it suggest to us that they are stubborn? I can’t remember how they responded to this question. Not particularly helpfully, as I recall. But I was also going for something here, and so the question wasn’t particularly useful. Stubborn suggests persistence, I said, it suggests working away at something difficult. Anyone who writes about the Holocaust—and by extension anyone who reads about it—has to be stubborn. In fact, “stubborn experiments” could be a name for Holocaust literature itself, which is dogged in its attempt to describe what has been called indescribable. Holocaust literature is necessarily experimental literature. But the persistence connoted by the word “stubborn” promises attainment or completion or at least possibility. I want students to finish the course thinking that the Holocaust can in fact be represented.

I thus offer Hurbinek as a figure for the struggle to put traumatic experience into language. He does, after all, say a word. It’s not a message, it’s not a revelation. The word remains secret, though it’s open to, and in fact even demands, interpretation.

In the end, then, the real writer here, the one who wields language with extraordinary finesse, is not Hurbinek but Levi. In the last few minutes of class I turned our attention to the final phrase of the passage, one I’ve always found strange: “he bears witness through these words of mine.” Shouldn’t that be: I bear witness to him through these words of mine? Once again Levi points towards the necessarily proximate status of witnesses. The survivor is always a surrogate for those who didn’t survive.

The most significant way Levi can speak for Hurbinek—that is to say, be that surrogate—is to mimic in his own language the child’s struggle to express himself. I pointed students to the striking syntax of so many of Levi’s sentences:

All the same, my attention, and that of my neighbours in the near-by beds, rarely managed to escape from the obsessive presence, the mortal power of affirmation of the smallest and most harmless among us, of the most innocent, of a child, of Hurbinek.

Hurbinek was a nobody, a child of death, a child of Auschwitz.

Hurbinek, who was three years old and perhaps had been born in Auschwitz and had never seen a tree; Hurbinek, who had fought like a man, to the last breath, to gain his entry into the world of men, from which a bestial power had excluded him; Hurbinek, the nameless, whose tiny forearm—even his—bore the tattoo of Auschwitz; Hurbinek died in the first days of March 1945, free but not redeemed.

In each of these examples, I said, as the hour came to an end, Levi seems to do what he says Hurbinek did, when in his groping toward language he offered “several slightly different articulated words, experimental variations on a theme.” Levi seems compelled to re-describe Hurbinek. It’s never enough to say one thing about him (he was a nobody). He has to say three things about him (he was a child of death, a child of Auschwitz). Clusters of adjectival phrases and ramifying clauses cascade forward in these elongated and elegant sentences. We read of “the obsessive presence, the mortal power of affirmation” of Hurbinek, who is variously described as “the smallest and most harmless among us,” “the most innocent,” “a child,” “Hurbinek.”

Levi’s technique here might be a function of the way Hurbinek escapes definition. Which would return us to the suggestion we considered earlier that he is some kind of unknown being, some non- or a-human creature, a little sphinx indeed. But we could instead say that it is the best way for Levi to honour Hurbinek. In offering his own version of linguistic experimentation and variation he seeks to do justice to the child’s experience, and his ambivalent effect on his listeners. In this way, perhaps, Hurbinek does indeed bear witness through Levi’s words.

12 thoughts on “Holocaust Lit Fall 2016: Week 1”

Reading your post, and in particular your commentary about Hurbinek, reminded me of a film I saw earlier this year: Son of Saul by the Hungarian director, Laszlo Nemes. I suspect you may have seen it already – in fact, you may well be covering it as part of your course. As a film, it had a profound effect on me, haunting my dreams during the weeks following the viewing. I think it was a combination of the immersive nature of the cinematography/directorial approach and the unrelenting soundscape that made the film all the more impactful. And the subject itself, of course, which is devastating. Georges Szirtes posted a short piece about it here (on FB):

Jacqui–I actually haven’t seen the film yet, though a friend wrote about it in his essay on Holocaust film in that forthcoming collection. And it sounds pretty terrific, though rather harrowing. I hope to get to it before to long. I can’t see the FB link here, though I like Szirtes a lot and would like to read it. Could you re-post or maybe DM me on Twitter?

Strangest thing: I see it when I check on my phone but not on my computer! Anyway, read it on Twitter. Great response, really matches with what the writer on Holocaust film said about it in the collection I edited. Thanks for sharing!

Isn’t that weird! I couldn’t see it on my PC either. Still, I’ve long since given up trying to understand the vagaries of WP. Glad you were able to read it in the end. I would be fascinated to hear about your own views of the film once you get a chance to watch it.

I almost didn’t get past his not-at-all-sweeping-generalization about Holocaust feature films, but thought that what he said about Son of Saul was right on. My own initial viewing of the film was so coloured by the particular circumstances of it (watched it a week before the submission deadline and rapidly came to the alarming revelation that I was going to have to rewrite a whole section to include it, since it illustrated my thesis so perfectly… And so the truth comes out) that I didn’t really stop to think whether I thought it was a genuinely good film, or simply an admirable one from an ethical point of view. I think I feel generally positive about it, though I could certainly see some potential counter-arguments to my support for it (while it is insistently subjective, I could, for example, see an argument about the film fetishizing its horror… In other words, the fallacy that if you make your audience miserable for two hours, you have adequately represented the Holocaust). I’m also a bit undecided about the ending; does it bring everything into focus or sell out the vision established by the rest of the film? Anyway, I’d be very interested to hear your take on it once you’ve had the chance to see it.

Rare glimpse into how the academic sausages get made!
It’s definitely something I need to watch–but sometimes I have a hard time motivating myself to see things that I “have” to see. I’ve always been unsystematic–why I’m such an unsuccessful researcher!
Anyway, the film does sound pretty interesting, much more so than your run of the mill Holocaust stuff (and God knows there’s enough of that!).